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A single cut from the debut album "Orca" by NTsKi, a Kyoto-based electronic music producer/performer. It is a 7" single that couples "Takao Remix", which was previously available only on the Japanese CD version of the same album, and the instrumental version by Takao.
Packaged in a semi-transparent paper inner sleeve which slides into the center of a semi-transparent triple-fold paper outer sleeve. Silver vinyl. Mastered and lacquer cut by D&M Berlin.

Some artists have gained huge recognition, some records have been idealized to the point of becoming cult albums… and that’s exactly the case of Marine Flowers, by Japanese multiartist Akira Ito. An album that is unique, delicate, exploratory… a true one of a kind sonic adventure that 35 years after its first release comes back in the form of a reissue via Glossy Mistakes.

Looking back, Akira Ito’s artistic career began not in music but in acting. Born in Japan in 1945, he developed a prodigious ability to perform and a childhood acting career blossomed. However, as acting gigs dried up, actor/director Shintaro Katsu encouraged him to follow his steps into the music industry. With the rise of Western rock and soul music lighting up Japanese radio, Akira Ito stood to capitalize in the localized mid-60s “Group Sounds” craze by becoming a performing musician, joining touring bands across Japan fusing western and Shōwa-era pop styles.

But Akira’s musical interests changed throught his life experiences and travels, up to the point when he knew exactly what he wanted to do (without knowing how to do it): healing music.

Akira understood that once he set up shop at Hitokuchizaka Studios in Tokyo the work of translating these ideas began in earnest. First he started his own record label, dubbing it “Green & Water’’ to promote a series of releases that would strike a more organic tone, envisioning a series of Japanese Environmental Music records. Marine Flowers would be one of four self-penned albums on the label dedicated to esoteric symbolism like “Hopi Prophecies”, “Prayers”, and the “Four Corners Of Water”.

Flanked by more than a phalanx of analog and digital synthesizers from Roland, Korg, and Moog, Akira would dedicate this release to those waters of Palau. Here he would largely improvise on scratch ideas he had in mind, creating a musical base for tracks like “W・A・T・E・R”, “Dancing Spirits’’, and “Life Goes On” that he’d let invited friends and gifted musicians, like violinist Takashi Toyoda, the late Japanese drum giant Shuichi “Ponta” Murakami, and others contribute their own ideas afterward.

Hearing the music now, it’s not hard to understand just what Akira stumbled into. Marine Flowers (Science Fantasy) is of a new lineage of “ambient” artists like Hiroshi Yoshimura, Satoshi Sumitani, and others who took academia out of all these therapeutic ideas married to scientific theories, making them into something a bit more universal, malleable, and palpable. This Music For Inochi or “music for life”, treated us to gorgeous, floating music like album opener “Prologue, Into the Beauty” where Akira’s droning, aquatic-sounding electronics open up to the ebb and flow of percolating electroacoustic sonics that flow into the aforementioned “W·A·T·E·R”. Rich and organic, a violin melody from Takashi Toyoda feels like an aural lily pad bobbing along to all these gentle sonorities.

Gentle piano melodies cycle in and out of songs like “Dancing Spirits” evoking classic ambient discreet music from the likes of Brian Eno. Others like “Essence Of Beauty” have gossamer parallels in the works of Harmonia.

Originally released in 1986 and on its 35th anniversary, Marine Flowers deserves this fresh reissue, making this masterpiece available for everyone.

Liner notes are written by Diego Olivas, author of the blog Fond/Sond, from an interview with the artist coordinated by Ken Hidaka.

The first release of this Maxi 12” series arrives on March 20th 2020, in the form of an experimental highlife / boogie called IMO SPECIAL RELEASE and includes some gems taken from two wonderful and unknown LP from the heart of the Igboland.

On Side A featured Soki Ohale with his I.S.C.A.C. Band : the track is call Igbo Nwe Egwu and is a blended mix of Highlife, Boogie and Electronic sound from 1986, sung in the Igbo language that shows a traditional village style melted together with modern rythim. It was pressed on a limited and raw LP sponsored by Imo State Council for Art And Culture. Strongly recommended for a powerful and no-limit dance floor.

On Side B featured La Bruno - Instant Reaction + Instant Rap an endearing disco boogie sound full of crazy synths. The original LP is literally impossible to be found, we have been lucky to locate a clean copy in our secon trip to Nigeria few years ago and even more lucky to meet Mr. La Bruno himself just walking around Owerri, the capital of Imo State, located in the east side of Nigeria!

This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name.
Fascinated by the music of the Cuban orchestras broadcast on the radio and the colourful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born…

"El Negro Bembón con la Sonora MAG" includes, with the only exception of the instrumental track 'Té Para Dos', mostly vocal songs -guarachas and boleros- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on 'Pepito' the biggest hit of the album.
This album is currently almost impossible to find in its original edition, so we are now happy to present the first ever reissue of "El Negro Bembón con la Sonora MAG" in its original artwork and 180g vinyl pressing.

Oranges Vinyl, farbig bedruckte Innenhülle

Real World Records – das berühmte Worldmusic-Label, gegründet von Peter Gabriel - jetzt bei Universal Music! Montparnasse Musique sind der algerisch-französische Produzent Nadjib Ben Bella und der südafrikanische DJ Aero Manyelo.

Gemeinsam produzieren sie einen elektroakustischen Sound voller ansteckender Hooks, kompromisslos und authentisch. Ihre neue, selbstbetitelte LP ist eine kühne Mischung aus den traditionellen Klängen Afrikas, kombiniert mit dem Puls des modernen Johannesburg: Gqom, Kwaito, Techno und Afrohouse.

The Accra-born pianist and frontman only released a few albums in small quantities, yet two of them are among the most sought-after records from 70's Africa. This was the first.

So what do we know After learning his craft in Benin and playing with the likes of Orchestre Poly-Rythmo de Cotonou, ROB returned to Accra to write his own material and find a sound.

Hooked on the driving funk and raw soul of stars such as James Brown and Otis Redding, he would often imitate his heroes on his father's piano during school holidays.

The title track sets the pace with a JBs-like rhythm, ROB almost shamanic with his sparse yet commanding vocal. The organ and wah-wah guitar spin us out before those imperious horns bring us back in.

And what better way to close this set than with 'More', swept up in a call and response between Rob and his backing singers as a 'Blow Your Head' synth flares and the brass blasts. Good times guaranteed.

As the man himself says, 'Funky music is in my blood. What you hear is the coming out of my mind.' No one sounds like Rob, because there is no one like Rob.

Anlässlich des 25-jährigen Jubiläums der Spice Girls Debütsingle ’Wannabe’ (ursprünglich am 8. Juli 1996
in Großbritannien veröffentlicht) bringen Virgin / USM am 9. Juli 2021 eine neue vier Songs umfassende
’E.P’ (Extended Play) auf 12ff Picture Disc und Kassette heraus.
Neben der Original-Single und einem gefragten Remix von Junior Vasquez (ursprünglich ein Bonustrack
auf der 1996er ’2 Become 1’ CD-Single) gibt es die Original-Demo-Aufnahme und ’Feed Your Love’,
eine Ballade, die von den Spice Girls und ’Wannabe’-Co-Autoren Richard ’Biff’ Stannard und Matt Rowe
geschrieben wurde und für das Album ’Spice’ aufgenommen, aber bisher nicht veröffentlicht wurde.
Wannabe” war eine Nr. 1 Single in 35 Ländern (Quelle: Billboard Magazin) mit physischen Verkäufen von
über 7 Millionen Exemplaren. Im Jahr 2020 war ”Wannabe” der meistgestreamte 90er-Jahre-Song eines
weiblichen Künstlers auf Spotify.

Once more we're ready to take flight on Africa Airways, for this sixth journey we're taking you above 5280 feet and laying on the funk.

The flight opens with the punchy horns, afro rhythms & groovy bass of Eko Roosevelt's "Ndolo Embe Mulema". Keeping the tempo high we usher in fellow Cameroonians JM Tim & Foty for another punch of brass with the funky "More And More (Ye-Male)". We stay in Cameroon with Ngalle Jojo, here he lays down another funktastic bass heavy stomper with "Ngigna Loko". Jude Bondeze hails from Bangui, Central African Republic and is probably best known for his more traditional Tene Sango album... but his debut 1981 release saw him in a very funky mood indeed!

Next up, Nigerian Vicky Edimo gets his thumb out and lays down some glorious slabs of deep funk... along with a rather splendid bass solo! JK Mandengue played bass off & on for the British Afrobeat band "Osibisa", playing on the uber funky "Super Fly TNT" Motion Picture Soundtrack album.. Certainly putting him on a path to the Wahahwah'tastic "Kosa Mba" taken from his 1979 self-titled album.

Slow percussive classic raw street funk from Nigeria's Akwassa, who's line up is the same as "Heads Funk Band", are up next. Another outing for Vicky Edimo on this 1978 beauty from Mike Kounou. Also on guitar duties for Mike Kounou is Francois Amadou Corea, who's funky chops can be heard on "Ngigna Loko" & "Njonjo Mukambe".

Hi-Octane funk from Airto Fogo, percussion, rhodes & horns aplenty on this 1974 instrumental cut "Black Soul". As we prepare to start our decent Francois Misse Ngoh drops in some filth with this 1980 bass face monster "Njonjo Mukambe"... head nodding isn't essential, but it's best to brace yourself for impact.

Your next Africa Airways departure will be ready for boarding soon,
so keep your passports at the ready!

After a humble startup release in 2019, Philou Louzolo continues his quest with his Afrofuristic label Wokoundou and welcomes us once again in his fictional multiverse. The opening anthem Ahosi Army is that song where we can hear Philou's diverse influences come together: aggressive polyrhythmic African drums are taking the lead accompanied by Philou himself playing the percussion in combination with lightsaber - effects and lazershots shooting over a deeply layered African Techno track, a true space battle anthem. Violet and Alma Negra are taking us to a new place at the intergalactic outskirts of Wokoundou's multiverse with two strong and propulsive remixes.

Mariana Zwarg represents the third generation of musicians playing and spreading the tradition of "universal music", created by her godfather, the legendary Hermeto Pascoal from Brazil. Mariana is a flautist, saxophonist, composer and arranger and bandleader.

In 2016 she formed her "Sexteto Universal", uniting musicians from 5 different countries and toured the project regularly in Europe and Brazil.

"Nascentes" is Zwarg's debut album and her first solo project. It was recorded between Rio de Janeiro and Berlin at the tail-end of 2019, just before the first cases of Covid-19 were reported. There are 10 tracks in total: 8 songs composed by her, a theme by Hermeto Pascoal and a theme by Itiberê Zwarg, who are also the album's special guests.

On her debut album, ‘Mare Undarum’, Sélène Saint-Aimé poetically transcribed the influence of the moon on her music, here, on this second recording, she transmutes her Caribbean cultural heritage.

In Antillean lands, the Potomitan, central pillar of Haitian voodoo temples, also designates the mother who supports the equilibrium of an entire family. This title stood out as an obvious choice for Sélène, after many months spent in Martinique during the pandemic.

Long conversations with her paternal grandmother retracing the history of their family, life, childhood memories and the strength of Caribbean women all 'infused' the writing and recording of this record.

The album plays out symbolically around the title track and it also acts as an analogy, interpreted by a trio, featuring the tanbouyé masters Sonny Troupé (Ka drums, Guadeloupe) and Boris Reine-Adélaïde (Bèlè drums, Martinique), who joined the team on their previous release. The intera%ion between the double bass, Sélène’s voice and these drums lies at the heart of the album.

Arawak Uhuru (freedom in Swahili), the first track, is a grand bèlèwith three beats to the bar that honours the many Amerindian populations present in Martinique since the 1st century, at least. Arawak does not designate an ethnic group in the strictest sense, but more a linguistic family.

Irving Acao, still on the tenor sax, also takes part in this vocal trance based around the traditional theme of Martinican Béliya, fleshing it out with Cuban sounds and rhythms.

Trumpeter Hermon Méhari, who forms a brass section with Irving on the majority of the tracks, brings his own rendition of ‘The Bird’ by Charlie Parker, who was, like him, originally from Kansas City.

The other cover on the album is an arrangement by Sélène of a theme from the Pelléas et Mélisande orchestral suite by Jean Sibelius. It places Mathias Lévy’s violin and Guillaume Latil’s cello at the forefront, in a version for a string trio and vocals. This track resembles a conversation with what lies beyond, and it is dedicated to Sélène’s. maternal grandmother, as she was born exactly a hundred years ago.

Though she continues to sing in her own language all through the tracks, her first song in English, ‘White Birds, Silver Tree’ rounds off the record. Sélène wrote it in her uncle’s banana grove where cattle egrets come to nest. We can see them depicted on the sleeve painted by Lossapardo, near a dead tree with silver hues that graces a river’s edge, somewhere in the North of Martinique.

Without any repetition and (almost) without a score, the recording session played out organically, with Sélène dictating her melodies to the band on a piano which was in the room. Rhythms were sung then reproduced on the drums for a recording where the collective sound was captured live.

Far from a stiff reworking or a pan-Caribbean fusion, Potomotan, drinks from the spiritual and musical source irrigating afro-descendant culture, and invents a new folklore, vivified by improvisation.
Sélène Saint-Aimé : bass, vocals and poetry

Following the immense critical acclaim of Siti Muharam's album 'Siti of Unguja', On The Corner release a limited run of 500 transparent vinyl. Crowned Album of the Year 2021 by Songlines, 'Siti of Unguja' was also selected The Guardian's Global Album of the Month, The Wire's No.1 Global Album and included in best albums of the year lists in NPR and The Vinyl Factory.
Siti of Unguja tells the story of pioneering women, of the ‘golden voice’ of Siti Muharam, heiress to the singular legacy of her great grandmother, the mother of taarab, Siti Binti Saad.

On the Corner teases this first taste of a landmark recording that the label embarked upon two years ago on Zanzibar. Siti of Unguja has a transformative atmosphere, brimming with romance, passion and protest.

Zanzibar is an Island archipelago that lies 6 degrees South of the equator and 30 miles off the East African coast out in the Indian Ocean. Known for its spices, traditional Dhow sailing boats and being a mercantile trading capital of Swahili culture.

The modern history of Zanzibar can be animated through the life and legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing village of Fumba, on Unguja (Zanzibar’s largest island), she became the first Zanzibari recording artist and her recordings sold in tens of thousands across the swahili world.

Agi Yuzuru, where does one start? From late 60s kayou groove singer, actor and model, to dogged krautrock and free music researcher, underground music journalist, magazine owner / editor, and early 80s Japanese electronic music pioneer / instigator, with his (holy grail) label Vanity Records, and – to his death in 2018 - dedicated observer and diarist of new, experimental music. Where does one finish? Yuzuru, who steadfastly refused to license Vanity’s material, though bootlegs started to appear, and while falling prey to his final illness, was working on a near complete collection of those radical releases, only for it to be released posthumously.

Jo was an alias of Agi’s. It’s unlikely the fan base for his earlier pop outings would appreciate a spiky existential protest song, so Agi pressed 100 copies of the record himself. It was 1970, after he had briefly joined folk harmony pop-rock group The Happenings Four. The single was arranged by band member (now Japanese rock legend) Kuni Kawachi. Barely Living: a nihilistic number, in the vein of alternative musician / singer-songwriter Mikami Kan: a pained cry of confused existence, in the darkness of a rapidly modernising world. With Weekend Hippy, a harmonica blasted intro barely keeping to the tune, à la Dylan, we have here a comment on the hippy movement that had spread even to a reasonably conservative country like Japan.

Two songs that express anger, and a rejection of accepted norms, both the everyday, and the so-called alternatives. A small testament to the character of a near unsung great of new music in Japan.

Licensed in a limited edition of 300 copies, in a facsimile of the original sleeve, with Japanese lyrics, and professionally printed insert with lyrics in English.

Released in summer 2018, 'A.E.I.O.U.' is the first single from upcoming album by legendary Brazilian singer DI MELO, 40 years after his classic self-titled Samba-Soul LP. Performed and produced by French brilliant combo COTONETE, it has received great support from DJs and media internationally, with amongst them DIMITRI FROM PARIS, who also honored us with a banging remix!!

Mòlo Sâyat is the meeting of souls of Lebanese singer Pl Seif and some European instrumentalists. Their repertoire has established its base camp around the Mediterranean Sea without renouncing their sporadic visits deep inland. Led by an ear cravingthe beauty of contradictions, the band composes songs in Arabic, Italian and Romani language. Voices and instruments rise up together to invoke a chimeric and colourful folklore and to transport the listeners into a voluptuous inner-world.

Olindo Records is proud to present the 7th full length release in
its expanding catalogue by Venezuelan singer, songwriter and multi-instrumentalist Isaac
Sasson.

Da Lata return with a cover of the underground classic “Jungle Kitten” by Manfredo Fest featuring Kaidi Tatham on synth as well as an all star line up of some of London’s finest musicians.

Organic dance floor pressure, fluid heavy grooving at the confluence of Disco and Samba packed with positivity and uplifting warmth. The B side sees their epic version of Rafaella Renzulli’s “Asking Eyes” featuring Vanessa Freeman finally out on vinyl.

Repress

MMT aka Mehmet Aslan inaugurates the Hamam House imprint with three killer turkish disco cuts (erkut tackin, okay temiz, metin alatli) beefed up for todays' dancefloors.

“Those are the spirits of my ancestors calling from the Mellah of Meknes, from the mountains of Kurdistan. The unheard voices of my culture, that was taken from me. I shall talk to the spirits, I will heal the wounds. I was asleep, now I am awaken.”

Berlin based, Jerusalem pioneer Roi Assayag aka Tropikal Camel serves up his fantastic new album, ‘Awakening Spirits’ on Brussels based label Rebel Up Records, distilling 20 years of musical experience.

The album title ‘Awakening Spirits’ is a wordplay: in Hebrew & Arabic, winds, spirits & ghosts are the same word - Ruaah. This title is polysemic: spirits are representing the mystic research that is eternal, winds are representing drama and conflict , ghosts are the voices from the past... the word awakening symbolizes the future.

Makom in Hebrew, Maqam in Arabic, which means ‘place’ but is also the name of the melodic system of Arabic music, theory which Roi Assayag has taught himself from youtube tutorials, trying to deepen his connection with the melodies that opened his soul. In those quarter tones he found the drama that he is so connected to. One that is making him feel home.

As Tropikal Camel he casts a spell over audiences from Europe to Africa through the Middle East by blending percussion with a psychedelic edge at places like Nuits Sonores and Nyege Nyege. It is a sound that draws on his Middle Eastern and North African heritage and heads into the future. In the artist’s unique way he fuses elements into a special blend of driven bass, deep pads and chopped chants for a musical journey that continues on this spellbinding new offering.

Roi Assayag: “In order to maintain this raw magic I recorded most of the album live in one take, the way I perform it live on stage. My vision was to create a ceremony in which one experience a release, from his own self, in order to get to their unknown dimension.”

On the A side, deeply moving opener ‘Deja Groove’ immediately sinks you into an enchanting
world of percussive flurries and weightless beats, a ballad of longing to a lost love, was written in dark times with a glimmer of hope.

‘The Spirits’ is a sparse and intoxicating brew of churning drums and Syrian sufi chanting, influenced by music of Aleppo in Syria. Sufi music has a mystic quality, opening the heart and cleansing the soul. This track is in Maqam Sabah, a modus that is representing youth and the process of maturity.

‘Waves’ is a loose and languid mix of lurching grooves, traditional percussion and edgy synth drones that trap you in a trance. It is about the waves of the mediterranean carrying rubber ships. Roi Assayag: “On stage I always dedicate this track to refugees from Syria, reminding me of pictures of my grandmother escaping the war in Europe.”

On the B side, the pressure then builds again with the clattering drums and hits of ‘Zachotronic’. Roi Assayag: “Zacho is the city my great grandfather who came from Kurdistan. It is based on the rhythm of the Davul, a crazy percussion that needs no soundsystem to make the people dance.”

The excellent ‘Beeehave’ slips into darker, almost techno leaning territory. It’s about being wild, not giving a fuck, in a club in Berlin, high!
‘Seashells’ mixes all of the above into an electrifying trip through world sounds that brings plenty of new influences to the dance floor. A track that is based on a memory of a loved one, collecting seashells on a beach.

The moodiness continues on bonus track ‘Dreamshadow’ with its eerie melodies and gently turning drums.

Roi Assayag: ‘Awakening Spirits’ is the soundtrack of my confession room. From moments of loneliness in my room in cold winter, to high peaks, talking to my spirits directly. It is a journey, and now you are a part of the awakening. The spirits are calling - tonight!

a deeply uplifting and spiritual record from a fascinating artist.

Russian Producer Volta Cab presents himself i n MM Discos with Balearic Balsam EP, a record that explores the borders of the sound that was born i n the white i sland, blending i t with a “new-wave” oriented vibe.
On the A side, Saint Petersburg based producer, shows us what he l ikes the most partying obscure rhythms with summery-soothing atmospheres. “Shujumi'' plays along with more ethnic and oriental sounds while “Balearic Balsam” gets highly influenced by t he 80’s new wave.
On the B side, the talented Greek producer “Anatolian Weapons” takes over the control by remixing Shujumi, he twists the original track and adds different acid elements building a perfect 4x4 killer straight to your brain. Volta Cab finishes the EP with “Vedic Space Vehicle”, getting a l ittle darker than the previous tracks on the
A side but without changing the vibe, delivering an excellent new-age-elektro rooted anthem.

Limited edition 7” single from 1983 rare one-off project with blind singer Nohemi (who can be nicknamed as the Kate Bush de los Andes) and written by Los Shapis guitarist and composer Jaime Moreira.

Legally blind from birth, Brazilian keyboard player, composer and bandleader Manfredo Fest learnt to read music in braille and began studying classical music at a young age. By 17 he had fallen in love with jazz (particularly the music of fellow blind pianist George Shearing) before becoming swept up in Rio's emergent bossa nova movement in the sixties. Moving to the States in 1967 where he would go on to work with fellow countryman Sergio Mendes, Fest recorded and self-released Brazilian Dorian Dream in 1976, enlisting Thomas Kini (bass), Alejo Poveda (drums, percussion) and Roberta Davis (vocals).

Like a turbo-powered, intergalactic elevator ride, Brazilian Dorian Dream builds on the principle of the modal diatonic scales of the Dorian mode, with influences of Brazilian rhythms, North American jazz and funk, and music of the European baroque and romantic era. The coming together of these intergenerational and intercontinental styles coupled with Fest's visionary use of the Fender Rhodes, Clavinet, Arp and Moog synthesizers (plus a whole load of effects units), makes for an album light years ahead of its time.

The miraculous wordless vocals of American jazz singer Roberta Davis are nailed so tightly alongside Manfredo's keys and mind-bending synths that it sounds almost alien. On the album's liner notes, Fest preaches Davis' ability highlighting how hard it is to sing such precise intervals so accurately. One of the tracks on which the vocals shine brightest is space funk stepper "Jungle Cat", which features hard funky drums, freaky synth lines and expert Rhodes comping. The track builds up and up before releasing into the unmistakable scat melody in the chorus.

A few years after releasing Brazilian Dorian Dream, Fest recorded and released his Manifestations album in 1979, featuring 'Jungle Kitten'': a new dancefloor focused variation on "Jungle Cat". At around 140 BPM 'Jungle Kitten' was possibly deemed too fast for statside dance floors, which explains why it never got a US 12" release. But the track became something of an underground hit at jazz dance clubs and all-dayers across the UK in the 80s and as a result it has probably become Fest's most well known track since.

The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil’s all-time funkiest low-end licks), a horn section including Valle’s go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you’d expect from the Brazilian titan, and it’s fresher than a fruity caipirinha in the Copacabana sunshine.

Updating Marcos Valle’s seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output. ‘Estrelar’ (1983), for example, an ode to the joy of exercise, has become one of the biggest Brazilian disco hits of all time. But lyrically the new album is more closely reminiscent of Valle’s progressive early seventies’ releases. Heralding love, tolerance and living in the present, while satirising political corruption, the new release recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985.
The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit ‘Olha Quem ta Chegando’ and the infinitely classy ‘Vou Amanhã Saber’, to the nine-minute synth heavy instrumental funk stepper ‘Odisséia’, which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss, by London based producer Daniel Maunick (son of Incognito frontman Bluey). More moments of boogie delight come in the form of ‘Minha Roma’ (a musical nod to the famed ‘Estrelar’), and the sunshine anthem title-track ‘Sempre’.

Translating as ‘Ever’, Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle’s astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the sixties, writing the world famous bossa standard ‘Summer Samba (So Nice)’ for his sophomore album ‘Samba 68’. After a brief stint in the States, Valle returned to Brazil, and the early ’70s saw the release of four ground-breaking Valle albums which incorporated progressive rock, psychedelic influences, pop, jazz, soul and cinematic arrangements. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento’s backing band Som Imaginaro, the prog-rock band O Terco and jazz funk legends Azymuth. Returning back to the US in ‘75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, before returning to Brazil once more, where after releasing a handful of hit pop records, he took a hiatus from recording.

Since the mid-nineties, Marcos Valle has been experiencing a renaissance with London based label Far Out Recordings, where his approach to music has remained, as always; decidedly open to new influences, possibilities and technologies. Sempre is Marcos Valle’s fifth album for the label, following 2010’s critically acclaimed Estatica.

Just in time for summer, Sempre is out on Vinyl LP/ CD on 28th June 2019 on Far Out Recordings, and Marcos Valle and band will be touring Europe in May /June (see below for dates).

Double header from Jazz Room Records with two superb jazzy versions of Club Classics by Japan's Cruisic:

Side A is the legendary Brazilian Club Jazz track by Azymuth given a cosmic keyboard revitalisation. Samba style heat and the cool of the contemporary jazz beat merge to breathe a whole new life into this Soul Boy classic.

The Flip is a Jazz Dance version of the 1989 release "Pacific" by Manchester Acid House ravers 808 State. Watch the dancefloor fill from the first jazzbeat!

The singles are now changing hands for 3 figures (if you can find one!), now put together on one fantastic release.

Emerging from Lower Franconia's hidden reverse, Johannes schebler, known as ambient-poltergeist "Baldruin" and surreal folklorists Christian Schoppik & Katie Rich of "Brannten Schnüre"-fame have puzzled and amazed outernational audiences from the stranger end of the avant/lo-fi spectrum in recent years. The trio is now collectively dreaming as "Freundliche Kreisel",reaching for terra incognita rather than common ground on their most bewildering and accessible outing to date. Arch-pontifices of the electro-acoustic and outsider-art realm, they fill in gaps and invent missing links on the go with somnambulistic ease, confusing the hypersensitive and hyaline timbres of contempo-electronic aesthetics with the naïve charm of Germany's obscure Kassettentäter and mutant-NDW.

Think Daniele Mana and Lorenzo Senni digitally rewiring the 4-track recordings of Gareth Williams' Flaming Tunes or sometimes, much scarier, it feels as if it's the other way round. There certainly is an air of whimsical yet post-ironic romanticism to the songs contained here, a madcap, tongue-in-cheek ghost story as filtered through the transcendental senses of a childhood perspective. This attitude is best personified in the disarming innocence of Katie's vocals whose intonation touches on nursery rhymes as much as on dirges and bizarre 'schlager' kitsch.

Heirs to the tradition of magic realism, examining fragments of an arcane sacred mundanity like a crack in the concrete of everyday life, Freundliche Kreisel dwell on this often neglected microcosmic topography, yielding an adventurous and visionary piece of a decidedly Franconian next-level post-modern folklore.

2023 Repress

The third release from Canopy features the title track from a tough to catch Afro funk 7” originally released on private press in Benin in the 1980s. While information on the mesmerising Tomede Ehue remains elusive, she is backed by the Beninois powerhouse, the truly almighty, “TP Orchestre Poly-Rythmo de Cotonou”.

Electrifying cosmic voodoo disco grooves, heavy bass pulsing, blistering horns and spooky
organ riffs set the tone on this transcendental dance floor afro funk cut.

A modernised tropical disco remix from bosq & an Afro - acid version from Sam Redmore revitalise this mysterious dance floor incantation and launch it into the present day.

These tracks strike a balance between moody afro psych-funk and more punchy electronic aesthetics, while maintaining the subtleties of the original composition and performance.

Enter the Island is the new Concept EP of Daniel Monaco. Is the story of a group of friends who have ventured on a mysterious Island with the only mission to enter its infamous Reptilian Club. The tracks are a mix of Disco, Tropical and Dub an obscure psychedelic trip performed and recorded live at Daniel’s studio, but the adventure is not over yet because Enter The Island is not only a long trip into a mystical place is also a Board Game for two to four players. The idea was born during the first lockdown. Due to the big crisis brought by Covid-19 there were no chances to print Vinyl for this EP therefore Daniel thought to design a game made exclusively for this concept, its rules are unique as well as its design reflecting perfectly the spirit of the music.

Alessandro Rosa is the artist who made the design. The Board Game is the same size of a Vinyl cover made on Forex printed white on black. An unprecedented concept unique in its genre, a creative reaction against hard times.

Notes on a Journey reissue this 7" by Cláudio Bocca originally released in 1985. Limited to 300 copies. Originally released in 1985.

An album including 10 tracks created by Joe Hisaishi with various artists, based on a poetic note of inspirations written

by Director Hayao Miyazaki during the process of film production

Vocal: U-MI, Sizzle Ohtaka, Tsunehiko Kamijo, Mosieur Kamayatsu, RIKKI

After a humble startup release in 2019, Philou Louzolo continues his quest with his Afrofuristic label Wokoundou and welcomes us once again in his fictional multiverse. The opening anthem Ahosi Army is that song where we can hear Philou's diverse influences come together: aggressive polyrhythmic African drums are taking the lead accompanied by Philou himself playing the percussion in combination with lightsaber - effects and lazershots shooting over a deeply layered African Techno track, a true space battle anthem. Violet and Alma Negra are taking us to a new place at the intergalactic outskirts of Wokoundou's multiverse with two strong and propulsive remixes.

Wokoundou is an electronic music label rooted in Afrofuturism and Sci-fi, raised by Philou Louzolo. Philou is an artist hailing for his audience to perceive traditional African music within the realm of a more obscure, sci-fi and techno indwelled electronic music experience, hereby fast-forwarding its ancestral prospects into the future. The first volume is an EP that represents Wokoundou's intergalactic diverse sound. Shinobi Of Wokounou is a 5 tracker EP, blending Techno, Japanese Anime soundtracks, Acid and African music. Wokoundou's first release is directed to all dance floors in this galaxy to connect and invite people to perceive African music with an multiversal mind.

Deluxe Edition pressed on 180 grams vinyl.
Iconic and much sough after self titled LP by Piry Reis now re-issued as a deluxe edition containing an extra bonus track (spaced out Jazz interpretation of No Risco Do Relâmpago).
After playing for several years with Egberto Gismonti group and other prominent Brazilian acts, Piry decided to record this album which was originally released in 1980 featuring a special guest appearance by Egberto Gismonti.

'Miss Cheryl' is midtempo Brazilian disco-jazz -funk at it's finest, from the masters Banda Black Rio. Bass, synths, horns, drums, cuica and soulful vocals - textbook 80's Rio vibes. Originally released on the Saci Pererê LP in 1980. The full length version was released on 12' in the UK in the same year and became a classic on the 'Rare Groove' scene.

In the words of the one and only DJ Nuts 'Some people say that the first rap song from Brazil is 'Melo do Tagarela''. Recorded in 1980 by the famous Brazilian actor Miele, this is the instrumental version of his take on
Sugarhill Gang's 'Rappers Delight'.

REPRESS!

Brazilian funk-soul at it's finest. Both tracks taken from the increasing more expensive and sought after 'Cartão Postal' LP, originally released on Odeon Brazil from 1971.

Both tracks are heavy on the drums, bass and horns, with Evinha's lead to top them off. 'Esperar Pra Ver' is a mid tempo funk soul jam, and 'Que Bandeira' moves between funk/soul and bossa/MPB grooves.

'Que Bandeira' was released on a 7' EP, featuring tracks from 'Cartão Postal' LP, on Odeon under the artist name 'Eva', in 1972... Ridiculously expensive now, as you have no doubt come to expect - so, released here for your affordable pleasure!

REPRESS!

Marcos Valle - Mentira

Valle is a Brazilian singer, instrumentalist, songwriter and record producer of the highest order. His roots lie in Bossa Nova and he was one of the youngest talents in the scene, extensively touring the USA and residing there for many years. Valle's music crosses touches many styles including samba, rock, soul, jazz, boogie and disco.

Signed by Odeon in 1963, he recorded ten studio albums for them between 1964 and 1974. He also recorded for Verve, Warner and Som Livre among others.

Mentira is a re-record of his own song 'Mentira Carioca' - released four years earlier by Odeon - and appears on his 1973 LP 'Previsão Do Tempo' on Odeon.


Toni Tornado - Me Libertei

This is the second track that we have re-issued by the one and only Toni Tornado, master of Brazilian Funk.

His career began as 'Tony Checker', lip syncing to rock 'n' roll hits and touring extensively outside of Brazil. Whilst in New York he met Tim Maia and became involved in the 'Black Rio' movement. Toni also worked with Ed Lincoln and Antonio Adolfo amongst many others. He had a successful acting career and starred in many soap opera's.

It appears alongside 'O Jornaleiro' on his sought after BR-3 LP from 1971 on Odeon. 'Me Libertei' has never been released on a 7.

Finally repressed

Al Dobson Jr. returns to Rhythm Section International with his debut full length LP. Spread over 28 tracks and clocking in at just under one hour, this body of work provides a glimpse into the mind of one of the UK's most talented, enigmatic producers.

Al Dobson's debut mini album marked the inauguration of Bradley Zero's fledgling label back in 2014, proving to be a breath of fresh air to the london scene with it's loose, undefinable sound and unique approach to production.

As a newcomer, Al Dobson Jr.'s music didn't remain a secret for long, with major global tastemakers such as Gilles Peterson, Theo Parrish, Dego, Alex Nut and Osunlade being early adopters. As with other key releases on 22a and Izwid, it didn't take long for Rye Lane Volume 1 to go from obscure debut to cult classic, propelling the artist and the label onto the international platform.

At once a continuation and evolution of the sound, Rye Lane Volumes II & III offers a deeper exploration into the Al Dobson Jr universe, moving with ease through tempos and textures but never losing that effortless magic that makes ADJ stand out from the crowd.

Soulful echoed vocals, dancing guitar rhythms and cosmic synth jams !
Leoparden's LP debut is a dreamy and freaky lo-fi affair inspired by everything from Bollywood disco to Nigerian boogie, with a twist of funk from the east Oslo suburbs...

First released by Britain’s then foremost folk label, Transatlantic Records in 1970, Storyteller’s first album is a forgotten gem of Psychedelic Folk Prog Rock. Warm and silky production courtesy of Andrew Bown and Peter Frampton, fabulous dual vocals and a wistful arrangement of top-drawer UK Folk Prog, make Storyteller a diamond worth digging into. Around 1969, after being a part of the band The Other Two on Decca Records, working with people like Chuck Berry, Duane Eddy and Jerry Lee Lewis, and touring with Chuck Berry and The Animals, Caroline Attard joined a new band that was being formed; Storyteller. A quintet who followed their own inclination, ignoring current fashions and just doing what seemed to come naturally, Storyteller is a crate-digger’s delight. Up there with Fairport Convention, Jefferson Airplane and Steeleye Span, Storyteller were steeped in folklore tales such as on ‘Ballad Of The Three Laps’, bringing the true spirit of folk alive in their own unique way. With songs written primarily by Roger Moon, and Terry Durham as muse of inspiration with his paintings and wonderful Yorkshire stories, Storyteller’s debut has the authentic and honest vibe of the real McCoy. No longer confined to being coveted by collectors and those in the know, this lush remastered reissue via Svart Records comes on gatefold vinyl with updated liner notes and interview. If you treasure Folk, Prog and Psychedelic Rock, make sure this is a tale you don’t miss out on!

Ajak Kwai is a name well known to the airwaves, stage, and broader Australian music community for her powerful performances and strong messages that call for inclusion and celebration of the diversity found throughout Australian society. Originally hailing from a small town of Bor (pronounced ‘bohr’) on the Upper Nile in what is now South Sudan, music has always been part of her life.

Alongside sharing political messages through her music, Ajak Kwai is also a radio broadcaster in Melbourne on both PBS and 3CR. Her shows give a voice to the local African community so that they can tell their stories through music and spoken word, and her music selections focus on songs that have changed the world in a positive way. She challenges bias in our society and reminds politicians to be accountable for their language and actions.

Performing in English, Arabic, and her native language, Dinka, Ajak Kwai’s music draws upon South Sudanese funk and blues influences and brings together elements of traditional music alongside more contemporary gestures. The result is something notably unique and powerful.

Ajak Kwai is joined by a band of exceptional standards, including musicians Matthew Erickson, Kanyakumar Shome (Silent Jay, REMI, The Bamboos, Cat Empire, Sampa the Great), Kofi Kunkpe, Maria Moles (Jaala, Jonnine (HTRK), Mildlife), Gabriela Georges and guests Boubacar Gaye (Ausecuma Beats) and Allysha Joy (30/70).

Ajak Kwai’s previous release and fifth album, ‘Let Me Grow My Wings’, was featured as RRR album of the week, feature Album on 2ser, and saw widespread support across community radio. Ajak Kwai has been an ambassador of the Melbourne International Arts Festival for three years and her sets have been highlights at festivals including WOMADelaide, Bluesfest, Brunswick Music Festival, A Festival Called Panama, Dark Mofo, Port Fairy Folk Festival and Woodford Folk Festival.